Before I begin, a quick apology – I just discovered that there have been comments on these posts that I haven’t replied to. I hadn’t realised that WordPress was no longer sending me notifications for each individual comment, and without notifications I didn’t realise that comments were being posted! I’ll go back and get caught up. Apologies if I appear to have ignored any of you! It was unintentional.
Date: Circa 1595.
First read: In a shortened version, around 1993, then the full text in 1996.
Productions seen: Hunners. The Animated Tales in the early 90s, then a production at the Brunton Theatre on a school trip, then over a dozen others over the years.
Productions worked on: Bits and pieces during training, one adaptation, one production (in Kent’s Cavern in Torquay, which remains one of my favourite shows to have worked on).
Edition I’m using: Penguin Popular Classics.
(I am pinned under a cat at time of posting and unable to set up the standard photo. This will be added later.)
- After Love’s Labours Lost, this is such a relief! The pacing and structure are just so much better. It’s not perfect – the wrapping up of the plot after R&J are dead still goes on a bit too long, as do the Capulet domestic scenes (the party planning, for example, and the musicians after Juliet’s death), but it’s a definite improvement.
- The use of the Chorus in this is strange. There are prologues for the first and second acts, then the device is simply dropped. It puts me in mind of the way the Christopher Sly device in The Taming of the Shrew is similarly started and discarded.
- Normally I don’t find the comic relief in R&J too tiresome, but I think I’m still burned out from LLL. Samson and Gregory were getting on my nerves this readthrough. And for the first time, so was Mercutio – but only a little, and only during the Queen Mab scene.
- Act 1, scene 5 – how on earth does Capulet’s servant not recognise Juliet? The Capulet family’s domestic arrangements are a mess.
- I really don’t understand Friar Laurence and the Nurse’s willingness to facilitate all of this. Yes, there’s the Friar’s vague idea that a marriage between Romeo and Juliet might bring the feud to an end, but that seems… well, unlikely, to say the least. Capulet claims to be prepared to throw Juliet out of the house for refusing to marry Paris, so I’m not convinced that he’d be easily persuaded that her marriage to a Montague was a good thing. I can imagine that getting them married seems like a better idea than saying no to them and risking them going ahead and having sex anyway, because it’s easy to imagine what damage could be done by Romeo ruining Capulet’s daughter and Friar Laurence doesn’t seem to trust Romeo to keep it in his pants. Still not a good plan, though. Intervening with their parents might have been a better idea…
- Also, that still doesn’t explain the Nurse. She’s got so much to lose if she gets caught in any part of Juliet’s plan, and unlike Friar Laurence she doesn’t have the safety net of the church. In that respect she’s a strong, well-observed depiction of someone who doesn’t think ahead. Bloody frustrating to read though.
- Every time I read this script I get angry all over again about all the times I’ve seen Juliet played as a drip. She’s really not. Imaginative and romantic, definitely. Insane, possibly. But she is anything but a drip. She’s decisive to the point of madness, she takes control wherever she can, and the girl’s sharp as a tack. Her first exchange with Romeo, her encounter with Paris, her conversation with her mother in the wake of Tybalt’s death – they’re all beautiful exchanges of wits.
- Speaking of wits, if Richard III was the play where Shakespeare really mastered the concept of dramatic irony, Romeo and Juliet is the one where he decides that opposites are great fun and should be employed at every opportunity. Not a bad thing – certainly less irritating than his craze for relentless couplets in LLL.
- And speaking of irritating, after all these years I’ve still never warmed to Romeo. A really strong actors with a particular kind of intensity can distract attention from Romeo’s flightiness and stroppiness (and I’ve been fortunate enough to see and work with actors who can), but it’s still there in the text. Even with judicious cuts, it’s hard to get past the childishness of his nature. Which leads me on to my next point…
- How on earth did people start thinking of this as a romantic play? Fortunately there are plenty of people who argue otherwise now, but I get a little surge of WTF every time I see a production being marketed as a great love story. Does anyone really think that if the plan had worked and Juliet had made it to Mantua, their marriage would have been a happy one? I’d give it a week before she’s back in Friar Laurence’s cell demanding to know whether a marriage is really legal if there are no witnesses.
- Once again I found myself feeling very sorry for Paris. Poor guy didn’t sign up for any of this. All he wanted was to marry a girl whom he thought might possibly grow to like him and whose family approved, and instead she dies and he gets stabbed. I get the impression he genuinely likes Juliet – his visit to her grave clearly isn’t just posturing, since it’s done in the dead of night and he takes pains not to be seen. I wish we got to know a bit more about him, though that might make his getting the short end of the stick feel even more unjust.
- Seventeen years after studying it for my Highers, I still think this is an odd choice for a curriculum text. The rationale seems to be that it’s about a couple of teenagers, so give it to teenagers to study and they’ll find it interesting because it’s about people like them. I remember being 16 and finding that mildly insulting, because I damn well knew not to snog a stranger at a party and then mistake it for love and marry them the next day. It took age and experience to see the play for what it is, to realise that it’s commenting on the mad intensity of young love rather than celebrating it. At 16 I found the power struggles of Macbeth far easier to identify with, but perhaps that’s just me…
NEXT TIME: Richard II